“To Walk A Contradiction” is a curated exhibition by Elise Fippinger, that opens the conversation of what it means to contradict. The works in Studios Inc’s collection bring this show to life through conversations with one another. This exhibition will be opening to the public in studios.gallery on November 14th, and will remain open until January 3rd.

Studios Inc. is excited to announce Camouflaged: Hidden in Plain Sight, a solo exhibition by Leon Jones. Studios Inc. will host an opening reception from 5 – 8 pm on November 14th, 2025, and the exhibition will remain on view through December 27th. Programming will be scheduled throughout the duration of this exhibition, stay tuned to Studios Inc’s Instagram for more information.

In Camouflaged: Hidden in Plain Sight, Leon Jones examines the architecture of deception at the root of the American story. From its founding myths to its present narratives, the nation has relied on disguise — the art of appearing righteous while concealing the systems that sustain inequality. “Camouflage”, in this sense, becomes both metaphor and method: a survival instinct that has evolved into a cultural reflex.

Jones’ work considers the errors in human nature and questions practicality and function of objects with a refreshed visual discernment, all while challenging ideas of conformity. His work recognizes the importance of marginalized cultures and their inclusion in the narrative of American history. His solo exhibition will be an open for interpretation experience, inviting each viewer to draw their own conclusion.

The holiday season is fast approaching, and Belger Arts is pleased to present the following unique shopping opportunity during the gift-giving season …

Shoppers can experience the joy of finding unique, handmade gifts during Holidays at the Belger Crane Yard Gallery, an annual exhibition that includes artwork created by over 50 artists from across the country. Artworks in a range of mediums, including ceramic, glass, metal, textiles, and wood, will be available for purchase from November 7, 2025, through January 3, 2026. Many participating artists will be in attendance during the exhibition’s opening reception from 6 to 8PM on Friday, November 7, at the Belger Crane Yard Gallery. For a list of participating artists, please visit our website.

Printmaker and painter Craig Allen Subler tackles the genre of still life with a new series inspired by the compositions of 16th century painter Juan Sánchez Cotán. Subler’s examination of the elements of form, space, and time are conducted through his exploration into new methods of printmaking using digital technology.

“As a pictorial genre I have until recently avoided creating still-life, perhaps mistakenly thinking it was too easy a genre. Then I began studying the 1600 century works by the Spanish artist Juan Sánchez Cotán, and these paintings were a revelation to me. I approached them not as realistic renderings, but as complex abstract compositions. The spareness of his design and the minimal space was unmistakably modern to me. Though his melons and vegetables exist in isolation on a black field they are engaged in a visual conversation with each other that invites the viewer to look deeper and contemplate these relationships. It is precisely this interplay between and among the damaged fruits in my works that evoke the inevitable processes of time and the unfolding awareness of climate change affecting our shared future.

The title is a metaphor that alludes to several related issues in my work: to my looking over the table to the long history of still-lifes and particularly the stark geometry of Cotán; to my exploration with elements of form, space, and time in image making; and to my interests in process and new ways of printmaking which uses digital technology.

For me, exploring still-life provided an opportunity to engage with a subject matter that was less controversial. Having recently completed a portfolio of 35 prints focused on the Hiroshima bombing, I welcomed the diversion when the pandemic began. The resulting isolation prompted me to seek a subject matter I had not tackled before, subject matter that could subtly reflect the profound tragedy occurring beyond the studio walls.”

“States of discovery are awkward and exhilarating and vital. Horsing around with fluidity and air, I came upon these expressions. These new paintings trace the feeling of standing inside color and space – where energy, light, and memory converge.”

Jane Booth built her studio on the rural Kansas prairie sited to overlook the landscape and sky that inspire her. Booth paints from the inside out, from her meditation of life experiences then out, through the physical activity of pouring, pushing, and brushing paint. Her painting begins with raw canvas on the floor of her studio or outside on the concrete, where paint and water can be poured, pooled, and pushed with a broom. The atmosphere of the painting begins with color, vast and saturated or thinned and fog like. A calligraphy of gesture akin to dance informs the composition. Only later, once the canvas is up on the wall, do gestures and forms emerge evolving in conversation forming a visual language that is Booth’s alone. Large scale paintings are the norm for Booth often ranging upward of 15′.

Jane Booth’s paintings are in public collections throughout the country including: Kansas University Hospital, Kansas City, MO; Blue Cross/Blue Shield, Cisco Systems, H& R Block World Headquarters and Hilton Hotels, as well as the Daum Museum of Contemporary Art, Sedalia, MO.